quaint heads by early German painters; and when this faint colouring was lit up by a joke, there came sudden creases about the mouth and eyes which might have been moulded by the soul of an aged humorist. His father, an engraver of some distinction, had been dead eleven years, and his mother had three girls to educate and maintain on a meagre annuity. Hans Meyrick—he had been daringly christened after Holbein—felt himself the pillar, or rather the knotted and twisted trunk, round which these feeble climbing plants must cling. There was no want of ability or of honest well-meaning affection to make the prop trustworthy: the ease and quickness with which he studied might serve him to win prizes at Cambridge, as he had done among the Blue Coats, in spite of irregularities. The only danger was, that the incalculable tendencies in him might be fatally timed, and that his good intentions might be frustrated by some act which was not due to habit but to capricious, scattered impulses. He could not be said to have any one bad habit; yet at longer or shorter intervals he had fits of impish recklessness, and did things that would have made the worst habits.
Hans in his right mind, however, was a lovable creature, and in Deronda he had happened to
